Amplify

Catch Light

Conceal The Flaw

Crack

Echo Back

Feel Like A Fever Dream

Feel Like A Teenager Again

Feel Out Of Body

Feel Overdressed

Feel Overexposed

Feel Too Real

Feel Uncanny

Find Meaning That Isn't There

Fog Up

Gather Dust In The Attic

Gender You

Haunt You

Look Back After You Pass

Look Back At You

Mirror Too Close

Move And Stay Put

Move Without Leaving

Never Repeat Exactly

Only Exist When Lit

Read Too Much Into It

Reflect

Repeat With Variations

Shatter

Shop Past Reason

Smell Like A Barber Shop

Tarnish

Watch You Back

mirror

money

profit

dad joke

egotism

egotist

one-liner

bad luck

superstition

trivia

obsidian

phobia

ageing

reversibility

directionality

nonsense question

reverse

self-hate

social media

telescope

vampire

vanity

handsome

picture

reflection

motorcycle

optical illusion

prank

witchcraft

memory

self

is a device that would do better were it to 'reflect' a little before throwing back images.

Mirrors should reflect before sending an image. (Jean-Luc Godard)

is a worthless invention. The only way to truly see yourself is in the reflection of someone else's eyes.

The mirror is a worthless invention. The only way to truly see yourself is in the reflection of someone else's eyes. Voltaire

is abominable - like copulation - because it increases the number or men.

Then Bioy Casares recalled that one of the heresiarchs of Uqbar had declared that mirrors and copulation are abominable, because they increase the number or men. Jorge Luis Borges, Tlön, Uqbar, Orbis Tertius

is, like the newspaper, never to be believed.

Never believe in mirrors or newspapers. (John James Osborne)

is essential to all violent and heroic action, whatever their use in civilized societies may be.

Whatever may be their use in civilized societies, mirrors are essential to all violent and heroic action.

is, in early modern English artistic practice, reflective not of a reflexive self-consciousness which might be seen to herald the birth of modem individuated subjectivity. Rather, they were upward-tilted instruments of correction intended to reflect paradigms of virtue... remembrances of mortality... and cruel reminders that sins such as vanity must be punished.

Debora Shuger argues that mirrors in early modem English artistic practice writings, paintings, woodcuts and the like describe not a reflexive self-consciousness that might be seen to herald the birth of modem subjectivity but, in fact, the reverse. 42 She suggests that while representations of mirrors reflected many things, they almost never revealed, or even purported to display, an individuated self (p. 22). Mirrors were instruments of correction... Platonically angled, upward-tilted emblems intended to reflect paradigms of virtue... remembrances of mortality... and cruel reminders that sins such as vanity must be punished. (They functioned, indeed, as all of the symbols toward which Shakespeare gestures in Sonnet 62.) On this basis, Shuger argues convincingly that the early modern mirror was not a Buckharditian exemplar of the birth of an individuated self but the mark of a culture that did not yet have a place, or a vocabulation, for the kind of 'I' with which we are now so familiar.

For our improvement we need a mirror. Arthur Schopenhauer

is our best friend because when we cry it never laughs.

The mirror is my best friend because when I cry it never laughs. Charlie Chaplin

humanity

mirror, n.Memes

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